Wetherby

I've always loved this movie deeply. I just watched it again for perhaps the sixth or seventh time. I fully agree with the Japanese reviewer that the mention of Nixon is in sympathy, not ridicule. His yearning to be loved by another, is very much meant as a parallel to the young and older Redgrave character - as well as to the young man at the dinner party.

David Hare has a wonderful scene here that is very similar to the very end of Plenty - when we see Joely Richardson writing in her diary in 1947 or so (think of Plenty's flashback to Meryl Streep in 1944 or 1945 speaking to the French farmer). The scenes might be full of bathos - but gee, I was overwhelmed both times.

This movie has much in common with other Hare ventures - movies like Strapless and Plenty, plays like Skylight and "Amy's View".

Hare's deep sympathies are with the romantic, the compassionate, the sensitive, the foolhardy, the collective-minded and the lost. He is antipathetic toward the self-sufficient, the ambitious, the laconic, the individualistic, the successful. I only partly share his sympathy and his antipathy but he makes me appreciate his attitudes through dramas he creates with real living characters.

Hare is sentimental in a nostalgic way, and can write wonderfully vivid, intelligent and lost protagonists. I think him a far more intelligent and better dramatist than such left-wingers as Mike Leigh or Ken Loach.

Many of us will see much of ourselves in his protagonists' loneliness, our wonder at mistaken hopes from our past, and sense of our own frailties and faults as we grow older.

Others speak of similarities to Pinter - I don't see them. Hare is more essentially romantic - even if he doesn't want to be - and I'd place him more with a Jacques Demy than with a Pinter-Mamet and their cold keen patterns of speech and behavior - though granted, he's more concerned with social and political background than Demy.

This is essentially a sad movie about one who was once happy - and her wonder and self-realization about another sadder than she.

This movie also started me off on two decades of strongly favoring Joely Richardson in any role - as I had always loved Ian Holm and Vanessa Redgrave. (I realized recently that among my several dozen favorite movies since the mid-1960s, about one quarter seem to have Ian Holm in them!).

If you like movies like Sunday Bloody Sunday, Butley, Plenty, A Kind of Loving, Quartermaine's Terms - and I do - you'll love Wetherby. I love this movie.

A Pinteresque landscape of a movie. Not quite upper upper class, but upper middleclass, educated, intelligent people, endlessly talking, and trying to "relate". An opening scene that jarred me: Redgrave describing the "sly" look of a student in a literature class. I responded to it as a average thirteen year old nerd would. "Please don't call on me, AND PLEASE DON'T DISCUSS MY LOOKS IN THIS CLASS, OR IN ANY PUBLIC FORUM. YOU'RE KILLING, AND EMBARRASSING ME, TEACHER!" This is a young Judi Dench, and Ian Holm no longer twentysomething, entering middle age. I wonder if they could forsee the international superstardom that would be theirs in a few years? The Richardson and Redgrave clan turns out yet another great contribution to the British stage in the delightful Jolley, Vanessa's daughter in real(not reel) life, playing, you guessed it Vanessa as a young girl. If you had any doubt why I rate London over Hollywood watch this movie. Even if you think it's boring, and, "they talk with funny accents" you can see that these people are artists and are so good the "art" hardly shows. It's not supposed to.

This is a great film. I just saw it for the first time. The comment above is completely wrong, however. I must set the record straight. The military scenes are not US soldiers, but rather a flashback for Vanessa Redgrave to a love lost. Royal Air Force, sir, in Malay. I whole-heartedly recommend the film. It has a great dramatic score. It also has tackles some real dark ideas about love and life. And it has a pace that doesn't exist anymore in many films, especially those with stars. Great performances from Ian Holm and Tom Wilkinson. Also a fine performance from a very young Joely Richardson (Vanessa Redgrave's daughter), who now stars on FX's Nip Tuck.

Another puzzle movie where there is are ludicrously scrambled pieces. If this is all about loneliness and despair, look at how much more gripping something like The Entertainer is. There is something extremely shallow about this film: I guess if you want to make something about despair and keep it really boring, really empty, voila, then people can read about what they want the full extent of their own despair and loneliness into it.

Probably one of the reviewers here is very right: Pinter seems always lurking in the wings of any scene. Hare, however is certainly his own man, very determined fellow to lead us nowhere with some kind of minor supine surprise at the end, to let us think we have solved the Rosebud mystery of this movie: like Kane, another jigsaw puzzle of a movie.

Even Kubrick's The Killing, another scrambled movie, though hardly on this scale, would have been better told straight forwardly.

Moreover, notice the blah response of the great unwashed public to this film. This baby shot past them on quiet rails in the dead of night, because it was just too tortured for its own good.

As for a great performance by Redgrave, well, sure. The woman cannot deliver a single unbelievable line. She is one of the great great actress of all time: spooky how she disappears into every role she ever did.

The only real puzzle for me, is...you guessed it. Why did they ever bother to shoot the first reel.

David Hare's quiet masterpiece conveys a genuine sense of alienation and dislocation while covering a great deal of social and political ground. It never loses sight of the human story, though; the loneliness of the characters comes through in this startlingly intelligent drama which unfolds slowly, like a flower under time lapse photography. We watch the bloom, flowering and eventual withering of the characters' bodies and minds over several decades of social discord, emotional disappointments and lost dreams.

It's stunning how Hare constructs such an involving character study under the framework of a conventional mystery. The inexplicable suicide of a young man draws the viewer in but it's the characters that involve the viewer in a greater mystery of the heart; how did these people get to this point in their lives and the history of a nation? Hare delicately examines the spiritual decay of late-20th century British society and how it impacts all generations, from the haunted post-war generation to the alienated, disconnected contemporary youth. Ultimately both groups are unable to reach out to each other, trapped in the inescapable malaise which spares no-one.

Vanessa Redgrave carries this film. In her eyes a dazzling spectrum of emotions infuse her scenes with joy, heartbreak, hopelessness, elation, and everything else in between. It's a brilliantly written film but no words are necessary to understand the despair. It's all in her eyes.